When I went researching online for workshop inspiration and to see if any artist has explored dementia through the medium of stained glass I came across the following:
To follow Alison’s description of the piece she made for the ARTzheimer’s Light and Shade exhibition:
“In 2016 was commissioned to create a Glass Art piece for ARTzheimer’s ‘Light and Shade’ exhibition which will be on permanent display in the Civic theatre in Tallaght, Co. Dublin from the 21st March 2017.
The ideas behind this piece are nuanced and subtle. You can tell by looking at someones eyes if they are present or not. You can see their experiences and life written out in their expression. The Iris contains a life cycle, childhood, love, education, birth and a home. These are the things we loose with Alzheimers. The light flashes on and off in an incoherent manner to show the memories vivid and in focus and then dull and lost to memory. And as a reminder the reflection of the eye, a piece of mirror, shows us that this could be our story too.”
After much further research I decided to include a piece by the famous and well know Irish stained glass artist – Harry Clarke. After visiting the National Gallery and hearing a wonderful guide of the piece they have on display called The Mad Prince I decided to research the piece further. To follow some information on the background story to the piece.
Firstly let me briefly introduce stained glass artist Harry Clarke. He was a leading exponent of the Celtic Revival and of the Irish Arts and Crafts movement at the beginning of the 20th century. Attracted by the artistic language of the Symbolists, he created in that style innumerable beautiful images derived from literature, medieval legends and religious sources. Extremely talented, his ability was equally impressive in different media, but his greatest success was achieved as an illustrator of books and as a designer and maker of stained-glass panels.
The miniature panel of the Mad Prince was inspired by a moving poem written by Walter de la Mare. In it Clarke explored some new technical solutions, aciding and plating together two double pieces of glass of different colours to achieve his desired combination of hues. Once polished, the stained glass was inserted in a walnut cabinet created by James Hicks of Dublin. He uses dark colors to direct the eyes of the viewer to the lighter glass to see what he wanted you to see.
The song of the mad prince is an exquisite panel housed in a James Hicks cabinet. A small light at the back of the cabinet illuminates the panel. The panel is made up of two sheets of flashed glass; flashed blue glass is on top and flashed ruby glass is underneath. The poem, the song of the mad prince, by Walter de la Mere is inscribed on the central plaque on the cabinet:
Who said, “Peacock Pie”? The old King to the sparrow:
Who said, “Crops are ripe”? Rust to the harrow:Who said, “Where sleeps she now?Where rests she now her head,Bathed in eve’s loveliness”?That’s what I said.Who said, “Ay, mum’s the word”?Sexton to willow:Who said, “Green dusk for dreams, Moss for a pillow”?Who said, “All Time’s delightHath she for narrow bed;Life’s troubled bubble broken?That’s what I said.
In the panel, the prince is depicted in Elizabethan-style clothing, with white ruff and pointed shoes. His outer garment is richly patterned with dark blue motifs and golden designs. His father and mother are depicted in profile behind the prince. Both are attired in dark blue patterned robes. The panel’s background is filled with beautiful floral designs in red, gold, green and blue. The panel is signed Harry Clarke 1917.
After much thought I decide however not to chose this piece but another by Harry Clarke in a local church in Terenure called the Crucifixion.
The Crucifixion, Harry Clarke – St. Joeseph’s Church Terenure, 1922/23.
The Crucifixion is positioned high above the altar. The background for each of the lights is a spectacular red and gold sunset, offset with evergreen trees.
The top panels of the first light depict six golden-haired angels praying in profile. The middle and lower panels depict ten Irish saints. St. Patrick is depicted at the front of the saints, attired in traditional green robes.
The top panels of the central light depict five angels attired in gowns of gold and white, with elaborate wings of blue and red. The Holy Spirit, denoted by a dove, is in the centre of the group. In the main panels, Jesus is shown on the cross. The lower panel of the central light shows Mary, Saint John and Mary Magdalene at the bottom of the cross.
The top panels of the third light depict six angels, dressed in decorated robes of white, blue, green, gold and red. The main and lower panels of the third light depict ten Irish saints kneeling in adoration. Saint Brigid of Kildare kneels in the foreground in blue robes.
I decided to draw from the more contemporary stained glass artworks created Peadar Lambe for the second piece I wanted to introduce to the clients of Rose Cottage. Personally I am drawn to his strong bold colour use and minimalist designs. To follow are a few of the pieces that I was drawn to and then had to narrow down to one.
Peadar Lamb. Born dublin 1966. working primarily in the medium of stained glass for over twenty years.Using hand-made glass, he employs a variety of techniques (some of which have changed little since the 11th century), such as acid etching, painting and staining to create contemporary unique pieces.
After studying in Ireland and Britain Peadar spent a number of years gaining practical experience in Britain, Scandinavia and Italy, before returning to Ireland to set up his own studio.
Peadar is continuing an artistic tradition going back to his grandfather, the painter Charles Lamb, and his great great grandfather, the painter Ford Madox Brown, a member of the William Morris firm of stained glass manufacturers in the 19th century.
He specialises in large architectural pieces and small-scale lightboxes, working to commission and for exhibition.
There are a number of stages in the making of a stained glass panel. He says his ultimate goal is for the finished work to retain the vibrancy and life of the creative process and transcend the technical aspects of stained glass.
The piece that I chose to talk to the clients in Rose Cottage was his commission made for the façade of the Irish Repertory Theatre in Manhattan, New York. He first visited the site in the summer of 2007 and installed the final piece in November 2009. This commission was based on the writings of Irish and Irish American playwrights. Peadar spent two months reading and researching numerous plays written by these playwrights taking copious written notes on what suggested a strong visual images for him. Through his process of repetitious drawing he was able to get a clear understanding of the direction the work needed to go in. He says that he tried to capture the aspect of the play that had visual resonance for him.
Even though he plans out his individual artworks he says – “Art cannot be predicted or planned in advance, and unfolds and reveals itself even while it is being produced.” A man after my own heart.
Workshops kindly funded by the Adelaide Health Foundation, Community Health Initiative Scheme 2019
Supported by The Alzheimer’s Society of Ireland. Special thanks to Alan Carrick, Mary Mooney, Silva Schewer and all the staff, clients and friends of Rose Cottage.
Art and Dementia projects 